Canon’s new 85mm full frame prime lens might not be their fastest 85mm at F1.4, but the addition of image stabilization makes this a lens to watch. Details below:
Canon 85mm F1.4 w/IS
While not quite as fast as the Canon 85mm F1.2 II, the 85mm F1.4 IS update adds image stabilization to the equation and comes in at $300 cheaper than its predecessor. The image stabilization corrects for up to 4 stops of camera shake, making it useful for shooting handheld in low light conditions.
An ultrasonic motor allows for quick and precise auto focus and all elements are coated to prevent unwanted flare and image ghosting. This full frame 85mm is a great focal length for interviews and portraits (for you stills folks out there) and it becomes a useful 135mm when shooting with cropped APS-C sensors.
Canon has posted a first look video featuring the 85mm 1.4 IS with a few photography samples. Video below:
While this may not be the world’s first 85mm with stabilization — Tamron holds that honor — this is still a great option for those looking for a quality 85mm for professional use.
Price: $1,599.00
Availability: Q4 – 2017
Highlight Specs:
f/1.4 Max Aperture
Canon IS Equipped
Weather Sealed
77mm Front Diameter
Coated For Flare/Ghosting Reduction

The Sigma 85mm f/1.4 Art Series lens announced at Photokina last week is another step in the expansion of Sigma’s Global Vision lens line. This much anticipated model is Sigma’s longest Art prime lens.
With IBC and Photokina so close together, we have been bombarded by new releases from various manufactures thick and fast. Sigma has been right in the middle of it, initially announcing a new venture into cinema lenses with their High Speed Cinema Zoom and Prime lines.
An exciting announcement by all accounts, but keen readers will have noted the inclusion of an 85mm T1.5, a focal length we were yet to see in the ancestry Art stills line.
It was therefore surely only a matter of time before Sigma announced the much anticipated 85mm Art lens, and Photokina 2016 was when they dropped the news.
The same way that Zeiss hold their 85mm Milvus in high regard, the Sigma 85mm pokes its head above the rest of the Art line in size, price and most likely weight.
Sigma claim that this all-new construction embodies the perfect portrait lens. New and fast HSM (hypersonic motor), dust & splash proof and electromagnetic aperture control for the Nikon version are some of the features of the Sigma 85mm Art prime.
Speaking of mounts, the Sigma 85mm Art f/1.4 comes in both Canon and Nikon F mount, with Sony E mount support via their MC-11 adapter. It’s also compatible with their USB Dock for firmware updates and Autofocus adjustments.
The Sigma 85mm Art f/1.4 – Full Specs:
Focal Length: 85mm
Aperture Max/Min: f/1.4 – f/16
Camera Mount: Canon EF, Nikon F, Sony E via Adaptor
Format Compatibility: Full Frame, APS-C / Super 35mm
Angle of View: 28.6°
Minimum Focus Distance: 33.46″ (85 cm)
Magnification: 0.12x
Maximum Reproduction Ratio: 1:8.5
Elements/Groups: 14/12
Diaphragm Blades: 9, Rounded
Image Stabilization: No
Autofocus: Yes
Filter Thread Front: 86 mm
Dimensions: (DxL) 3.73 x 4.97″ (94.7 x 126.2 mm)
Weight: TBC
Sigma has indeed been busy with new releases, expanding the Art line, announcing a new ultra wide-angle full frame 12-24mm f/4 zoom, new cine lenses and expanding the Sports division of the Global Vision Line with the Sigma 500mm f/4.
Now, where’s that 100mm Macro/135mm Art….

It’s been a busy day for Sony’s Press Centre. On top of announcing the new A6300, they’ve also introduced their brand new line of interchangeable lenses: the G Master range. Included are three new E-mount, full frame lenses.
The three lenses announced today include a 24-70mm constant F2.8 standard zoom, an 85mm F1.4 telephoto prime and a 70-200mm constant F2.8 telephoto zoom.
G Master 24-70mm F2.8 (SEL2470GM)
This lens features three aspherical elements, one of which is a new to market XA (extreme aspherical) which is said to reduce aberration while allowing the entire zoom and aperture range to maintain the highest resolution possible. The other two, the ED (extra dispersion) and Super ED elements are designed to keep chromatic aberration down while avoiding unnatural bokeh.
The SEL2470GM features a Nano AR coated, 9-bladed aperture that’s designed to remain circular in all settings, designed to suppress reflections.
A new algorithm has been introduced for the SSM, allowing quick and accurate positioning of all lens elements.
G Master 24-70mm overview:
XA, Super ED, and ED elements
Nano AR coated
9-blade aperture
AF/MF switch
Focus hold, zoom lock, and hood release buttons
Dust and moisture resistant
G Master 85mm F1.4 (SEL85F14GM)
Designed as the G Master range’s answer to portraits, the 85mmF1.4 features the new XA element, as well as three separate ED elements—all working in conjunction to maximize the resolution for in-focus objects while subtly dissipating out-of-focus areas.
The 85mm lens also features the most blades ever used on a single lens—a total of eleven—designed to ensure smooth bokeh, as well as an external Nano AR coating to reduce flare.
This telephoto prime lens also features a ring drive SSM and two position sensors, all working in conjunction to control the lens’ heavy hardware.
G Master 85mm F1.4 overview:
XA and ED elements
An 11-blade aperture
External Nano AR coating
A ring drive SSM
2 position sensors
Aperture ring with on/off switch
AF/MF switch
Focus hold button
Dust and moisture resistant
G Master FE 70-200mm F2.8 (SEL70200GM)
The G Master’s answer to the frequently used 70-200mm FR, Sony’s new telephoto zoom lens features three elements, including the new XA, alongside Super ED and ED elements. It also packs an external Nano AR coating.
The FE 70-200mm holds a floating focus system, the first of its kind to be included in a zoom lens, providing a minimum focusing distance of 0.96—and ensuring optimal performance during photography and filmmaking.
Featured again is an SSM, working in conjunction with dual linear motors to shift large lens elements quickly and accurately. Also built in is Optical SteadyShot image stabilization and a rotating tripod mount.
G Master FE 70-200mm F2.8 overview:
XA, Super ED, and ED elements
A floating focus system
SSM & Dual linear motors
Eleven blade diaphragm
Optical SteadyShot image stabilization
A rotating tripod mount
Fluorine coating
Focus hold button
Focal range limiter
Dust and moisture resistant
Also announced today were two teleconverters, 1.4x and 2x models, set to be compatible with the FE 70-200mm lens.
G Master Range Pricing and Availability
The FE 24-70mm F2.8 and 85mm F1.4 lenses will be available in Europe from March 2016, priced around €2,400 and €2,000, respectively.
The G Master FE 70-200mm F2.8 Telephoto Zoom lens, and its teleconverters are due to be released in May 2016 and pricing has yet to be confirmed.
Visit Sony’s Press Centre for the full release.
Image: Sony Europe.

The Batis lens line from Zeiss announced last month are now available for pre-order. The FE mount (Full Frame E-Mount) lenses are a worlds first to include a PMOLED screen to display focus distance for use in lowlight.
Like many Zeiss lenses, it’s just nice to sit for a while and stare at the sheer beauty:
Zeiss absolutely nail their aesthetics, simple sleek and classy. The Batis line is the epitome Zeiss in this regard, yet in others offer features that are unusual and “out of character” for both the company and any other lens manufacture.
I’ll speak of the obvious first, the inclusion of a PMOLED screen. The same technology found in eBook tablets, the screen offers a low power solution that is viewable in bright daylight.
Gone are your traditional etchings or perspex window meaning the design is sleek and minimal without the pitfall of lost information.
The second glaring factor is the inclusion of autofocus and image stabilization (latter 85mm only); very rare for a Zeiss lens.
It’s no secret that Sony and Zeiss have a heavy affiliation, and this partnership has produced many auto focus lenses in the past, but these are usually made by Sony under Zeiss’ specifications as Sony provides the electronics needed for the auto focus capabilities. Yet it seems the Batis line is a proud child of the main Zeiss family (unlike all other Sony/Zeiss E-mount lenses the Batis line show up on Zeiss’ main website).
Zeiss are renown for their solid manual focus manual aperture lenses, so this Batis line becomes a very interesting venture.
Like the Loxia line, Zeiss have announced two Batis lenses to start. Thankfully they chose two focal lengths not covered by the Loxia pair, a 25mm f/2 and a 85mm f/1.8.
Both lenses are FE mount, meaning they will fit on any E-mount camera, supporting both full frame and APS-C sensors; I can’t wait to try these out on my Sony A7S.
Here’s the spec of both lens:
Zeiss Batis 25mm f/2
Aperture Range: f/2 – f/22
Camera Mount Type Sony E (Full-Frame
Angle of View 82°
Minimum Focus Distance 7.87″ (20 cm)
Maximum Reproduction Ratio 1:5.2
Elements/Groups 10/8
Auto Focus
Filter Thread Front: 67 mm
Dimensions (DxL) Approx. 3.19 x 3.07″ (81 x 78 mm)
Weight 11.82 oz (335 g)
Zeiss Batis 85mm f/1.8
Aperture Range: f/1.8 – f/22
Camera Mount Type Sony E (Full-Frame)
Angle of View 29°
Minimum Focus Distance 2.62′ (80 cm)
Maximum Reproduction Ratio 1:7.9
Elements/Groups 11/8
Image Stabilization
Auto Focus
Filter Thread Front: 67 mm
Dimensions (DxL) Approx. 3.19 x 3.62″ (81 x 92 mm)
Weight 1.05 lb (475 g)
Combined with the Zeiss Loxia 35mm f/2 and 50mm f/2 there is now a really credible set of primes available for the full frame E-mount. It’s great to see E-mount taken seriously as theirs many great cameras now sporting this lens format (Sony FS7, A7S, FS700).
I’ve used a handful of FE Sony/Zeiss lenses and wasn’t impressed with the build quality or feel of the focus ring. The weather proofing on the Batis line is an immediate step forward, I just hope the focus ring is up to the usual Zeiss par, as stopless focus rings can be a right pain for video.

Here’s a list of all the co-branded Samyang lenses and how to get the best deals on them.
These lenses are a good choice for filmmakers on a budget who are looking to shoot with prime lenses that are somewhat cine-worthy.

The Zeiss Otus 55mm f/1.4 is considered as one, if not the best performing lens in its respective category. Now, Zeiss has released it’s second in the line up, the Otus 85mm f/1.4.
Lens manufacturing is usually hindered by many factors – weight, cost, size. Zeiss gave their technicians no boundaries when making the Otus; make the best lens you possibly can.
And for those whom have experienced the Otus 55mm first hand I’m sure will agree, it’s a stunning piece of technology; edge to edge sharpness is second to none.
At the time of release Zeiss stated that the Otus line would expand in the near future; the Zeiss Otus 85mm f/1.4 is the second lens in their stills flagship line.
In regards to specification, it’s very similar to its shorter focal length brother. Weighing nearly the same at 2.65 lb (1.2 kg) and a little longer at 3.98 x 4.88″ (101 x 124 mm) in dimension. The Otus line are certainly not small or light, quality comes at a price.
It sports 11 elements in 9 groups, has a 9-blade aperture diaphragm and a magnification ratio of 1.7.7. Like the Otus 55mm it has an aperture range of 1.4-16, and a larger front element of 86mm (versus 77mm on the 55mm).
Minimum focus distance is never a strong point for an 85mm, but the Otus 85mm performs better than average at 80cm.
At a cost and weight that will over shadow most filmmakers cameras bodies, this lens has an acute target audience. Many I’m sure will rent over purchase. If you prefer your shorter focus throws (compared to cine primes) and are looking to rent a high quality lens, the Otus line could just be the one for you.
The Zeiss Otus 85mm f/1.4 is available pre-order now in both Nikon and Canon mount.

If you’ve been shopping affordable manual prime lenses for your HDSLR then you’ve probably stumbled upon or even own the famous Samyang / Rokinon lenses like the $500 35mm f/1.4 or the $400 14mm ultra-wide.
[UPDATE]: cinema5D member Gumzster informed me that the 8mm fisheye already exists as a cine version.
[UPDATE 2]: The Samyang 35mm T1.5 Cine lenses is now available for pre-order $549:
“Rokinon 35mm T1.5 cine lens will be available in U.S in few weeks and Rokinon 24mm T1.5 & 14mm T3.1 cine lens will be available in U.S in September.”

Here’s some more test footage from the new Canon 650D by Johnnie Behiri. Unfortunately no other word on the clean hdmi out he revealed this week.
From the vimeo page:
The camera is very easy and pleasant to use.
Picture quality is identical to the more expensive (but older) 7D.
The real news with this camera (beside the AF which I was not able to test) is the clean HDMI output, a first ever in any Canon VDSLR.
It is yet to be seen if in the final camera firmware it will be 100% usable and functional.
You can DOWNLOAD the source file here.
-No color correction
-Editing software, Premiere CS2 with Cineform engine
On a sidenote:
The new 40mm f2.8 STM (video autofocus) pancake lens is now available: LINK